Living her best life as ‘the man that I always wanted to be’, Chloe Petts is a gay woman who adores lad culture. She opens Transience with a cute prom photo from her teenage years which she fastidiously dissects; the image is antithetical to the person that she’s become and she’s joyfully obsessed with it.

Much of the show is dedicated to issues of gender identity and sexuality, and Petts has fond memories of being a ‘child geezer’ with the imposing physique of a club bouncer. Her assured demeanour suggests someone who’s refreshingly comfortable in her own skin and she often uses physicality to embellish her performance.

^{Pictures: Matt Crockett}

There’s a real frisson to her crowd-work which suggests the confidence of a veteran. ‘I’m not going to bully any more members of the audience’, she says to herself, but it doesn’t last. She’s been misgendered so often that those experiences inform much of her material, including an impeccably staged anecdote detailing how men behave towards her in a bar depending on whether they think she’s male or female. Wrapping up the hour with a restorative epigram that neatly sums up her laissez-faire attitude to acceptance, this is an assured Fringe debut from a compelling new talent.

Pleasance Courtyard, until 28 August, 6pm.